@article{oai:rekihaku.repo.nii.ac.jp:00002822,
 author = {島津, 美子 and SHIMADZU, Yoshiko},
 journal = {国立歴史民俗博物館研究報告, Bulletin of the National Museum of Japanese History},
 month = {Dec},
 note = {application/pdf, 江戸後期以降，欧米から輸入された合成顔料には，従来使われてきた天然顔料と色調の似た顔料があり，群青と呼ばれる二種類の青色顔料がこれにあたる。群青は，工業分野では合成ウルトラマリンブルーを意味し，日本絵画や彩色歴史資料を扱う分野では，藍銅鉱（アズライト）から作る顔料を示す。前者は1828年にフランスで合成方法が確立し，日本にも19世紀後半には輸入されていた。明治期までは「舶来群青」，「人造群青」などと呼ばれたが，工業分野で広く用いられるようになると，接頭語がなくても合成ウルトラマリンブルーを表すようになった。一方，前近代の日本では，アズライトを原料とする青色顔料に，紺青と呼ばれたものもあった。群青よりもこい青色のものを紺青と称したことから，現在の工業分野では合成顔料プルシアンブルーの和名とされている。
洋紅は，明治期の錦絵に多用されたといわれており，名前が示す通り，輸入の赤色顔料である。もともとは南米大陸原産のカイガラムシ，コチニールから作るカーマインレーキであったが，合成染料の種類が多くなるころには，必ずしもコチニールではなく，赤色の合成染料に変わっていた可能性が高い。
本研究では，これらの群青・紺青，洋紅について，名称と原材料がどのように理解されていたのかを，文献調査と実資料の分析を通して整理した。群青と紺青のように材質と名称が分野により異なっているのは，江戸後期に色調の似た合成顔料が輸入されたことが契機といわれているが，実際には，明治後期以降であったと考えられる。明治期にさまざまな外国産の顔料が輸入されたことにより，在来の顔料の名称と色調から日本語の顔料名が付けられた。一方で，分野によっては，江戸時代から使われていた顔料を名称とともに継続して使っていた。江戸時代後期から明治期の顔料については，当時の名称と材質との関係は一定ではなく，どのような文脈で使われているかを理解する必要があろう。, Some synthetic pigments have been imported from foreign countries since the late Edo period. The colors of certain pigments are similar to traditional pigments, such as those made from natural stones. “Gunjo” indicates two types of blue pigments, where one is used industrially (synthetic ultramarine blue), and the other is used in the field of Japanese paintings and polychrome historical objects (azurite). Ultramarine blue was patented in France in 1828 and was imported by Japan in the late 19th century. Until the middle of the Meiji period, imported ultramarine blue was called “Hakurai-gunjo” or “Jinzo-gunjo,” literally meaning “from overseas” or “artificial,” respectively. When it became widely used industrially, it came to be known only as “Gunjo,” indicating a synthetic ultramarine blue pigment. However, before the Meiji period, the azurite pigment had been given two names according to their colors — “Gunjo” and “Konjo.” Since “Konjo” indicated a darker blue pigment, the name Konjo also indicates another synthetic dark blue pigment, Prussian blue, industrially.
An imported red pigment “Yoko,” meaning “western red,” was assumed to be widely used in Nishiki-e prints in the Meiji period. It was originally a carmine lake made from cochineal insects in South America. After the discovery of different types of synthetic pigments and lakes, “Yoko” could have also been made from these newly synthesized pigments or dyes.
This study, through the investigation of references and objects, aims to organize and clarify what the pigment names “Gunjo,” “Konjo,” and “Yoko” meant when they were used in the aforementioned instances, and their possible origins. The timing of the name of the pigment indicates that more than two types of pigments, such as “Gunjo,” are often assumed to occur when similar pigments were imported in the late Edo period. However, this seems to have occurred during the late Meiji period. When new types of pigments were imported from abroad, some were given Japanese names based on their similarity to the traditional pigments. In the field of Japanese painting, they continued to use traditional pigments and their names. As the composition of pigments that came into use during the late Edo and early Meiji periods may differ from the current composition, it would be better to understand the context in which the terms were used.},
 pages = {215--244},
 title = {[論文] 近世近代における群青と洋紅},
 volume = {230},
 year = {2021},
 yomi = {シマヅ, ヨシコ}
}